Abstract
Patent medicine shows became popular in the United States around the turn of the twentieth century by selling their products alongside free musical and theatrical entertainments. The “doctors” promised a range of cures, but usually mixed their remedies with alcohol or narcotics – using the promise of health to evade religious authorities and law enforcement, even in dry counties. Many talented black performers toured with medicine shows, including a number of artists later associated with the blues. I argue that the medicine show had a decisive impact on the blues by providing not simply training in performance, but also an impetus for the notorious suggestiveness of its lyric code. The blues borrows from the medicine show its lawless appeal to ailments uncategorized and ignored by socially sanctioned experts.
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